The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
José Bergamín believes that the work of Mexican painter Antonio Ruiz possesses a spiritual complexity that communicates the joy the painter feels in the act of creation. Bergamín speaks of the perfection of the artwork, and presents it as romantic and child-like. The author describes the work as “pueril” [child-like] with regard to the painter’s creativity; and “romántica” [romantic] because in some ways Ruiz’s work contains elements of pictorial naturalism. Because of this, the painter draws from the landscapes of Mexican painting during the 19th century. Bergamín believes that Ruiz expresses his creativity in a poetic manner.
José Bergamín (Madrid 1895-San Sebastián 1983) examines the œuvre of Antonio Ruiz from a foreigner’s viewpoint and presents it as part of a more intimate and poetic trend that was evolving at the same time as the Mexican muralist movement. This article is important given that muralist painting was exactly the trend that was being exhibited and made known abroad. In juxtaposition to it, Bergamín also highlights another type of painting that represented non-politicized, everyday themes, and whose small format contrasted with the great murals. See the catalog Antonio Ruiz. El Corcito. 1887-1964, (Mexico City: DIMART, 1987).